Property from the Triton Collection Foundation Hans Hofmann Follow Wicker Chair No. II signed "hans hofmann" lower right; further titled, inscribed and dated "MH Catalog. 564-1942 Wicker Chair 55 x 40" on the reverse oil on panel 55 1/4 x 40 1/8 in. (140.3 x 101.9 cm.) Painted in 1942.
Provenance Estate of the Artist (acquired in 1966) Renate, Hans and Maria Hofmann Trust (acquired from the above in 1996) André Emmerich Gallery, New York (acquired in 1998) Arij Gasiunasen Fine Art, Palm Beach (acquired in 1998) Knickerbocker Fine Arts, New York (acquired in 1998) Private Collection, Long Island Michelman Fine Art, New York (acquired in 2008) Acquired from the above by the present owner in 2008 Exhibited Cincinnati Art Museum; Denver Art Museum; Seattle Art Museum; Santa Barbara Museum of Art; San Francisco Museum of Art, Abstract and Surrealist Art in the United States , February 8 - July 1944, no. 26 (erroneously titled The Wicker Chair and the Picture ) The Arts Club of Chicago, Hans Hofmann , November 3 - 25, 1944, no. 25 New York, Whitney Museum of American Art; Des Moines Art Center; San Francisco Museum of Art; Los Angeles, Art Galleries of the University of California; Seattle Art Museum; Minneapolis, Walker Art Center; Utica, Munson-Williams-Proctor Institute; Baltimore Museum of Art, The Hans Hofmann Retrospective Exhibition , April 24, 1957 - June 17, 1958, no. 9, p. 18 Naples Museum of Art, Hans Hofmann A Retrospective , November 1, 2003 - March 21, 2004, no. 10, n.p. (recto and verso illustrated) Literature Alfred Frankenstein, "The Art of Calculated Form and the Art of Unreason," San Francisco Chronicle , September 10, 1944 (erroneously titled The Wicker Chair and the Picture ) Hans Hofmann Provincetown Paintings and Drawings , exh. cat., The Fort Worth Museum of Art, Fort Worth, 1985, p. 40 (illustrated in Hofmann's Provincetown house) Apollo 167 , exh. advertisement, Michelman Fine Art, New York, April 2008, back cover (illustrated, erroneously titled Wicker Chair ) Suzi Villiger, ed., Hans Hofmann Catalogue Raisonné of Paintings, Volume II: 1901-1951 , London, 2014, no. P383, p. 230 (illustrated) Catalogue Essay Painted in 1942, Wicker Chair No. II is an expressive tour-de-force that hails from Hans Hofmann’s illustrious body of work, executed upon the artist’s return to painting as his primary focus. In the preceding decades, Hofmann dedicated much of his time and energy to teaching art, initially in Germany and then in New York, where he opened the Hans Hofmann School of Fine Arts in 1933. In Europe, Hofmann frequented the Café du Dôme, where artists such as Pablo Picasso Georges Braque Henri Matisse and Sonia Delaunay gathered to discuss their work. Later in New York, Hofmann taught and participated in lectures alongside fellow Abstract Expressionist artists such as Willem de Kooning and Jackson Pollock the latter of which he first met in 1942, the year in which the present lot was painted. Hofmann’s mature practice and personal exploration into abstraction were heavily influenced by his encounters with de Kooning and Pollock, and informed by European masters like Matisse and Picasso. In Wicker Chair No. II , exuberant Fauve colors coalesce with fractured planes and angles, inspired by the artist’s early exposure to Cubism. In all of his works, Hofmann stressed the importance of working from life as a starting point, regardless of what level of abstraction the final composition might take. Here, the viewer is just able to discern a table-top still life in the upper right quadrant, and a yellow wicker chair in the lower center, for which the painting is titled. Moreover, what initially appears as a blue abstraction in the upper portion of the composition is in fact a painting by Joan Miró Image , 1937, which was in the artist’s personal collection. Hofmann achieved this level of abstraction through overlaying lines and angles, and ultimately developed his own artistic theory which he termed “push and pull”, to describe the co-existence of flatness and depth on canvas, as evidenced in the present lot. Apart from form, color is an equally dominating force in Wicker Chair No II . Patchworks of vibrant reds and yellows are interspersed with bursts of blues and greens, creating a composit
Property from the Triton Collection Foundation Hans Hofmann Follow Wicker Chair No. II signed "hans hofmann" lower right; further titled, inscribed and dated "MH Catalog. 564-1942 Wicker Chair 55 x 40" on the reverse oil on panel 55 1/4 x 40 1/8 in. (140.3 x 101.9 cm.) Painted in 1942.
Provenance Estate of the Artist (acquired in 1966) Renate, Hans and Maria Hofmann Trust (acquired from the above in 1996) André Emmerich Gallery, New York (acquired in 1998) Arij Gasiunasen Fine Art, Palm Beach (acquired in 1998) Knickerbocker Fine Arts, New York (acquired in 1998) Private Collection, Long Island Michelman Fine Art, New York (acquired in 2008) Acquired from the above by the present owner in 2008 Exhibited Cincinnati Art Museum; Denver Art Museum; Seattle Art Museum; Santa Barbara Museum of Art; San Francisco Museum of Art, Abstract and Surrealist Art in the United States , February 8 - July 1944, no. 26 (erroneously titled The Wicker Chair and the Picture ) The Arts Club of Chicago, Hans Hofmann , November 3 - 25, 1944, no. 25 New York, Whitney Museum of American Art; Des Moines Art Center; San Francisco Museum of Art; Los Angeles, Art Galleries of the University of California; Seattle Art Museum; Minneapolis, Walker Art Center; Utica, Munson-Williams-Proctor Institute; Baltimore Museum of Art, The Hans Hofmann Retrospective Exhibition , April 24, 1957 - June 17, 1958, no. 9, p. 18 Naples Museum of Art, Hans Hofmann A Retrospective , November 1, 2003 - March 21, 2004, no. 10, n.p. (recto and verso illustrated) Literature Alfred Frankenstein, "The Art of Calculated Form and the Art of Unreason," San Francisco Chronicle , September 10, 1944 (erroneously titled The Wicker Chair and the Picture ) Hans Hofmann Provincetown Paintings and Drawings , exh. cat., The Fort Worth Museum of Art, Fort Worth, 1985, p. 40 (illustrated in Hofmann's Provincetown house) Apollo 167 , exh. advertisement, Michelman Fine Art, New York, April 2008, back cover (illustrated, erroneously titled Wicker Chair ) Suzi Villiger, ed., Hans Hofmann Catalogue Raisonné of Paintings, Volume II: 1901-1951 , London, 2014, no. P383, p. 230 (illustrated) Catalogue Essay Painted in 1942, Wicker Chair No. II is an expressive tour-de-force that hails from Hans Hofmann’s illustrious body of work, executed upon the artist’s return to painting as his primary focus. In the preceding decades, Hofmann dedicated much of his time and energy to teaching art, initially in Germany and then in New York, where he opened the Hans Hofmann School of Fine Arts in 1933. In Europe, Hofmann frequented the Café du Dôme, where artists such as Pablo Picasso Georges Braque Henri Matisse and Sonia Delaunay gathered to discuss their work. Later in New York, Hofmann taught and participated in lectures alongside fellow Abstract Expressionist artists such as Willem de Kooning and Jackson Pollock the latter of which he first met in 1942, the year in which the present lot was painted. Hofmann’s mature practice and personal exploration into abstraction were heavily influenced by his encounters with de Kooning and Pollock, and informed by European masters like Matisse and Picasso. In Wicker Chair No. II , exuberant Fauve colors coalesce with fractured planes and angles, inspired by the artist’s early exposure to Cubism. In all of his works, Hofmann stressed the importance of working from life as a starting point, regardless of what level of abstraction the final composition might take. Here, the viewer is just able to discern a table-top still life in the upper right quadrant, and a yellow wicker chair in the lower center, for which the painting is titled. Moreover, what initially appears as a blue abstraction in the upper portion of the composition is in fact a painting by Joan Miró Image , 1937, which was in the artist’s personal collection. Hofmann achieved this level of abstraction through overlaying lines and angles, and ultimately developed his own artistic theory which he termed “push and pull”, to describe the co-existence of flatness and depth on canvas, as evidenced in the present lot. Apart from form, color is an equally dominating force in Wicker Chair No II . Patchworks of vibrant reds and yellows are interspersed with bursts of blues and greens, creating a composit
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